"Born and raised in the Los Angeles area, Napolian (born Ian Evans) attended Taft High School, whose alums include Ice Cube and Eazy-E. While the stylistic legacy of gangster rap runs deep in Napolian's music, the armature is that of a young producer writing his own tale without historical precedents. Incursio is Napolian's long-awaited debut album for Software Recording Co. A clandestine labor of love, the album was recorded gradually and with great attention over the course of two years. The fifteen songs of Incursio build on Napolian's first EP for Software, Rejoice, released at age nineteen, and his ongoing work and experiences as part of The Renaissance Music Group alongside Dro Carey and labelmates Tariq and Garfield. At its core, Incursio is an instrumental beats record (we here at Software lovingly refer to it as Encursducing...) What the album isn't though is an egg hunt -- no break record samples, no dust, no crates. No jazz rust, no deconstruction. Incursio is far too liquid and stealth for those tired totems. We see it as a high watermark record for a young producer with a love of hip hop, who has set out to make an epic that is bigger than the sum of its influences." Gatefold sleeve; includes a download code.

"This self-described opto-musical agglomerate was born in 2008 after a chance encounter between British musician Dan Hayhurst and New Zealand animator Reuben Sutherland. By combining practices, the pair's first test splattered a psychedelic palette that pushed them to explore sensorial intricacies emerging from chance operations. Raw materials for Sculpture's music include a mix of analog and digital practices. In Hayhurst and Sutherland's hands, tape manipulation, samples, found sounds, aleatoric and algorithmic programming and live improvisation become more complementary than you might imagine. Sculpture draws from experimentalism to promote new potentials for pop and electronic music in an age where many of our sci-fi fantasies have become mundane occurrences. 'I'm aiming to make a coherent, adventurous electronic pop record with its own voice and identity,' Hayhurst explains. 'I don't think experimental music has to be dark, difﬁcult or joyless. I try to make something playful, and maybe a little absurd.' First edition on yellow vinyl, limited to 1,000 copies. LP includes download code."

"Death After Life, Thug Entrancer's debut for Software Recording Co. is a deliberately realized collection of dance experimentation and hybridized electronic music with narrow stylistic precedents. It's also a gripping, somber tide formed from the gravitational pull of an artist's amble through unknown turfs. A summation of varied approaches to electronic music, Thug Entrancer's multiverse is similar to other Software artists (Slava and Huerco S., for example). McRyhew draws influence from pioneering electronic and experimental composers who placed an emphasis on extended development and technique, alongside early analog dance producers who went all-out and all-in with little more than a TR-808 in their arsenal. Death After Life is comprised of eight chapters drawn from the album title, each numbered one through eight. These portions underscore a pitch-dark thread running throughout the album's fifty minutes. While Death After Life reframes elements of Chicago juke and house in long-form design, the end result one in which a subtler horizon is discovered, trumping more palatable musical codes and dissuading us from treating electronic music, or any genre-stamped style matter, with rote attention. Includes a download code."

"The second chapter of SStudios (Software Studio Series). SStudios is a new venture in the Software Recording Co.'s expanding catalog that invites artists in the field of electronic music to create collaborative works of quality and vision. Inspired by the historical intersections of live performance and studio post-production, Wake Up Awesome is a modern kind of fusion in technique as well as genre. At its core are three artists highly experienced with both instant and labored composition. Together, they found the studio generated improvisations were iteratively developed by each on their own. Passages of real-time improvisation duck and swerve into electro-concrete tangles of samples, edits and juxtaposition -- all you'd want out of a world of mechanical possibility. If it sounds intentional on the record, it was. If Yeh and Marhaug's more electronic affinities in their respective practices place them as the 'producers,' then Lee's cello often leads the drive as a sort of soloist. The resulting conversation is genuinely both serious and iconoclastic. All three artists have a history of dialogue, but this is the first time they've hung out for the record -- we're very happy that they did. Limited numbered edition of 1,000. LP includes DL code."

"Limited vinyl edition in a deluxe jacket. Includes digital download code. In the videogame Dyad, a mysterious, micro organic particle zips through a Pollock-like tunnel that intensifies in shape, color and feel as players advance through the game. But like Dyad's predecessors, games aiming to be all-out sensory assaults, the synapse-frying player experience is inherently tied to the game's extraordinary soundtrack. Designed and produced by Oakland based composer David Kanaga, the soundtrack to Dyad will be made widely available for the first time by Software Recording Co. David Kanaga's maximalist score for Dyad fuses a breakneck array of sound events to rich, ambient segues of layered harmonies and melodic color. Like the ceaseless forward movement of the game itself, where the protagonist particle encounters cascades of oncoming enemies, the elements of the music also shift in concert with the events of the game. There are drops in octaves according to speed of the particle, and synced musical events signaling an array of hallucinatory actions on screen. Textures morph, pitches drift, events quantize and de-quantize in meditative 'flows' that sustain repose one moment, and sonic assaults the next. Kanaga casts a wide net stylistically; a kaleidoscope of influences ranging from acid-fried happy hardcore, to jungle and drum-n-bass rhythms to re-applied fragments of Top 40 production tropes, not to mention more than several sublime passages of hazy, cosmic coloring. Importantly, even with this stylistic range, the soundtrack never veers from referencing the particular intensities of the events in play. The frenetic music shifts in accordance with the game's own digital psychedelia, becoming on its own a kind of virtual stand-in for the game itself."

"Brian Leeds produces electronic music under the name Huerco S. His debut album for Software is titled Colonial Patterns. Leeds treats his Kansas City region as a universe worthy of its own electronic music. To that end, he deconstructs Midwestern techno and house tropes. The pieces are corrugated, rough, and de-compositional. Working cheaply, Leeds conscientiously uses low-end software, synths, and cassettes so as to subvert the gloss of so much urban dance music, giving tracks an impressionistic, emotive feel. The result is uniquely Midwestern: there is an expansiveness to each piece that suits the open space and the storied past of its inhabitants. Colonial Patterns shares Jon Hassell's hybridized experiments in percussive ambience, as well as William Basinski's strobing melancholia. When tracks subtly veer into house/techno territories, they mirror the no frills dance mechanics of Midwest figureheads Ron Hardy, Omar S, and Theo Parrish. Includes a download code."

"Co La is the primary project of musician and producer Matt Papich, whose explorations of sample-based electronic music have culminated in Moody Coup. The emotional palette of Moody Coup, Papich's second album and first for Software Recording Co., is more complex than its exuberant predecessor Daydream Repeater (NNA Tapes 2011). Where that record's relentlessly bucolic tone drew from the saccharine core of reggae, exotica, and '60s girl groups, the bedrock of Moody Coup is elusive and abstract. The various genre coinages that have been tagged to Co La's music before - new exotica, avant-luxury, furniture music, etc. - fail to accommodate the brainier obsessions behind Moody Coup's genesis. A new brand of alchemy occurs in the album, where cryptic sources are enhanced and embellished to a point of transcendence. This departure is the brilliant process of Co La's unpredictable electronic music."

"Raw Solutions is the debut full-length by Slava, exploring the darker, denser corners of Chicago house and footwork in an ever-broadening context. True to his cross-cultural identity, Slava's production doesn't fit neatly into a categorical genre. Rather, it surveys many and, Zelig-like, borrows freely from them. Slava dissects elements of pop, R&B, hip-hop, vogue house, British bass, and ambient and refocuses them in almost sculptural form for the live experience. The development of Raw Solutions was greatly informed by Slava's performance. Often recorded in single takes directly from a Korg Electribe ESX, the album compositions were crafted from bare machine essentials with few audio effects or sound-design. Slava's command of the mix powers Raw Solutions along a more refined and visceral arc than his previous recorded work. The vocal sample has become a signature element in Slava's carefully constructed balance. The thick and sticky sonic material of the samples contrasts the lean tone of mix element. The space surrounding Slava's skeletal programming becomes muscular with foraged sounds. Over the course of Raw Solutions, the samples dissolve into the production, naturalizing the contrasting presence. Raw Solutions rarely drifts though. The mix remains meticulously assembled -- each part perfectly puzzled-pieced. Mercury's penchant for intricate vocal choreography may have left as deep a stamp on Slava's psyche as his charisma." Gatefold sleeve; includes download code; numbered edition of 1000.

"2012's Rifts compiled Oneohtrix Point Never's (aka Daniel Lopatin) first three full albums alongside a crop of rare and out-of-print CDR and cassette material in a deluxe, five LP vinyl box set. Following the success of this sold-out one-time release, we are pleased to present all five LPs for sale individually. Each LP includes a digital download code. Betrayed in the Octagon was originally released on cassette by Deception Island in 2007. Subsequently released on LP in an edition of 300 copies by No Fun Productions, March 2009."

"Zones Without People was originally released on LP in two editions of 500 by Arbor, August 2009." Includes digital download code." "Arpeggios and sequencers play a key role in this amalgamation, as these forms of repetition create an attachment to a certain sentiment neither human nor machine. The record reflects this transformation; the A Side has distinct emotional flourishes, while the majority of the B Side seems to be overtaken in cold, mechanized melodies; attempts at teaching a machine to feel. The final track, 'Hyperdawn,' is a solution to these two disparate modes of interpreting stimuli: a pure union of veins and patch cables." --Arbor